Brian Lowry

Belushi turns out to be a lot more than just another look at a star who succumbed to drug abuse, but rather a celebration of John Belushi's talent -- and an era -- as recalled by those who knew him best. R.J. Cutler's documentary has its melancholy moments, but from the opening glimpse of Belushi's "Saturday Night Live" audition video, it surely won't give you the blues.

Mank has the makings of an Oscar contender, and not just because of Hollywood's traditional love for movies about itself. With Gary Oldman as the alcoholic, self-destructive writer of "Citizen Kane," director David Fincher has made a near-great movie about what's in the argument as the greatest of all time.

There's one clear reason to watch The Life Ahead, but for those who appreciate cinematic history, it's a good one: Sophia Loren, still striking at 86, starring in this Italian-language film directed by her son, Edoardo Ponti.

Greta Thunberg's inspiring children's crusade on the climate-change crisis receives dutiful if somewhat sluggish documentary treatment in "I Am Greta," an intimate portrait of the teenage activist that at its best conveys her courage and spirit, before bogging down in what becomes a somewhat repetitious call for action.

Ammonite joins a long list of forbidden love stories, yielding a movie presented in washed-out tones, which shines principally thanks to Kate Winslet and Saoirse Ronan. The result is a slow-moving, somewhat predictable but finally effective period romance that primarily serves as an old-fashioned testament to star power.

This is, admittedly, a strange time related to how and where people will wind up consuming this type of small-boned movie, but there's always room for another good one. "Let Him Go" might not be super, but it's definitely a trip worth taking.

Although the movie is visually impressive, the Chinese-American co-production suffers from a too-thin story, built upon a heavy-handed message soaked in that oldest of Disney tropes: a dead mom.

Bruce Springsteen's Letter to You is a valentine to his fans, an ode to friendship and a celebration of the E Street Band. The latest documentary from the prolific artist also marks the continued migration of what he describes as his "45-year conversation" with his audience into the visual media of film and streaming -- this time via Apple TV+.

His catchphrase notwithstanding, "Borat" isn't always very nice; indeed, the material is pointed, and occasionally guilty of working a little too hard to shock. In its best moments, though, the twisted mirror that Cohen holds up to America from a Borat's-eye-view is telling, and like the previous "moviefilm," very, very funny.

While the new Rebecca is a lot of things, irresistible, alas, isn't one of them.

Blackpink: Light Up the Sky manages to offer a welcome reminder that even for K-pop's reigning queens, all that glitters isn't always gold.

By the standards of Liam Neeson thrillers (and there are a lot from which to choose), Honest Thief is pretty weak tea, a passable, low-octane action movie that doesn't do much more than steal one's time. Like second-tier John Wayne westerns, Neeson offers enough of what his fans want, but a thin script and stilted dialogue make the battle harder than usual.

The Trial of the Chicago 7 feels timely in an at-times jolting way, with images of chaos in the streets and angry crowds chanting "The whole world is watching." At its core, though, writer-director Aaron Sorkin takes the "trial" part to heart, leading to a largely courtroom-bound affair that -- while entertaining and splendidly cast -- at its best echoes his early triumph with "A Few Good Men."

All told, there's not a whole lot new here. Still, for anyone who hasn't waded through Bob Woodward's book "Rage," or deeply reported accounts by the New York Times and others laying out Trump administration shortcomings, Gibney and company have delivered what is clearly intended to be a powerful closing argument, pulling the case together. And to underscore the title's ironic nature, the evidence suggests it's a response characterized more by chaos than control.

Whenever and wherever kids do see it, they're apt to enjoy it, while the theme reminds the adults in their lives that the differences and that come between families -- from politics to something as frivolous as a kid's bedroom -- finally aren't as significant as the deeper bonds that they share.

The main problem is there's a whole lot of scary out there this time of year, and Books of Blood winds up in a sort-of creative no-man's land. Even for undemanding souls, this is a pretty skeletal construct.

There's always the risk of sounding preachy in this sort of exercise in a way that scares off those who can be reached, or perhaps worse, being unduly optimistic. Attenborough finds a middle ground.

An entertaining, wonderfully simple comedy with the qualities of a smooth martini -- it goes down easy, but delivers a bit of kick.

Provides a stellar showcase for its actors, especially Jim Parsons as the central provocateur.

The key performances are strong, but director/co-writer Julie Taymor's movie meanders too much, dragging through the beginning and again toward the end.

An extremely clever concept that takes the "spares" in the royal equation and turns them into a superhero group. While hardly a blockbuster, this Disney+ movie occupies the upper tier of the kind of movies that have proved quite popular for Disney Channel.

Permutations on Sherlock Holmes have a long and spotty cinematic history, which makes Enola Holmes -- a vehicle for "Stranger Things'" Millie Bobby Brown, who doubled as its producer -- such a pleasant surprise. Adapted from the young-adult books, it's a lovely production that reinforces the sense Brown, if there were any doubts, is a major star in the making.

Simply in terms of presenting a draft of history through his earlier work and scalding commentary via his more recent endeavors, Souza's aim has been true.

Antebellum is built around a provocative twist, and it's a good one -- as well as one that definitely shouldn't be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made "Get Out" a breakthrough, without the same ability to pay off the premise.

The casting alone should spur interest in The Devil All the Tim -- Batman (Robert Pattinson) and Spider-Man (Tom Holland), together at last -- but can't make the movie feel like less of a slog. Adapting Dale Ray Pollock's grim novel, awful characters proceed along parallel tracks, en route to a whole lot of violence and unpleasantness.

Helen Reddy might seem so 1970s, but her song "I Am Woman" became a feminist anthem of its time, and serves as the title and centerpiece of a reasonably good movie biography, if one that -- perhaps due to the nature of her life -- feels a little like the Hallmark Channel version of "Bohemian Rhapsody."

Strange and more than a little sad, You Cannot Kill David Arquette -- a documentary about the actor's adventures in wrestling -- derives most of its strength from the discomfort associated with watching it. As the son of a showbiz family, the fact that Arquette is reduced to this cry for attention more than anything reflects the enticing lure of the spotlight.